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PROJECTION, LIGHTS AND STAGING NEWSAdvertise Where You Get Results – Projection, Lights & Staging News

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Editorial Profile

Nook Schoenfeld, Editor of PLSN Magazine

Taking over as editor for PLSN seems to be part of the natural path in life that I have chosen. Like many teenagers, I entered college without

a clue of what I would do with my life. But I liked music and I liked reading. So I took a bunch of journalism, English lit and theater classes, while figuring out what to do. Liberal arts they called it. Along the way, I joined a group of stagehands and local audio folks doing shows in my spare time. Changing majors, I found myself more interested in audio. While pursuing that path, all my knowledge of writing was placed on a back burner.

Upon finishing school, I ventured down this audio path and accidentally became a lighting guy. I had learned some things in theater and stagecraft classes, but nothing schooled me quite like doing shows in the live entertainment business. I ended up touring with bands and witnessed the birth of the moving light personally. Through hours of painstaking trial and error with these new lights (and hanging from my ankles from trusses all day), it did not take long to realize I would rather be a designer than a technician. So I learned computers before most and was in the right place at the right time, to be a lighting programmer. Thirty years later, I still am in the game, but found myself fancying a way out. After gigging in 80 different countries, I was finally bored with travel.

I have been writing for over ten years now. I enjoy reading the trade mags and seeing articles of mine published. I’m proud of the column I have occupied as the LD-at-Large, located on the back page of PLSN for the last eight years. I certainly fantasized to myself, that wouldn’t it be great if one day, I could combine my early education with what I had learned by touring the globe for 30 years. But I never expected to be an editor. When I was presented an offer to pursue this opportunity, I was taken aback. I’ve always done things a little different than the norm. In this case, one door opened, allowing me to close another. So into the proverbial fire again I dove. Stepping into some pretty tall shoes left vacated by my predecessors was actually a bigger step than leaving the road behind.

I have added my own touch to the last year’s editions of this magazine, but by no means did I ever think of changing the format that has worked so well for so long. I hope to add some fresh views from contributing writers and some new angles on the way we all look at the amazing talent out there. My history of personally using so much of the gear displayed in PLSN gives me a keen eye for anything new and exciting in this whacky entertainment business we are all in. I look forward to entertaining you with some fine reading over the years.

PROJECTION, LIGHTS & STAGING NEWS


2017 EDITORIAL CALENDARPROJECTION, LIGHTS & STAGING NEWS

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S Greg Gallardo - Publisher Entertainment DivisionTel: 702.454.8550Fax: [email protected]

Michael DevineAccount ManagerTel: 702.478.8112Fax: [email protected]

Terry LowePresidentTel: 702.932.5585Fax: [email protected]

Matt HuberAccount ManagerTel: 702.932.5585Fax: [email protected]

Year Issue Focus Special Feature Buyer’s Guide Bonus Distribution Ad Due Dates

2017

January Holiday Season Shows that celebrate the season LED block Lights Winter NAMM December 23, 2016

February Corporate Theater Looking into Lighting Corporate shows Moving Beam Lights USITT January 25, 2017

March Production and Tour mgmt A look into the job descriptions in todays world Movers w Framing Shutters PL+S Frankfurt February 25, 2017

April Film and Video issue Lighting for the Camera standouts Blinders NAB March 25, 2017

May the Theater issue Wrap up in new gear from Pro Light+ sound architectural flood lights April 25, 2017

June AV Issue Projection Mapping Spectacles LED tiles InfoComm May 25, 2017

July Small Concert Designs Small original design concepts for less known acts Tungsten lights June 25, 2017

August Focus on Festivals State Fairs and Festivals. video switchers July 25, 2017

September House of Worship Installs and Insights into Church Visuals data distribution August 25, 2017

October Special Big Issue for LDI floor We cover the Gamut from concerts to churches, from Nightclubs to theater truss products September 25, 2017

November LDI and Parnelli Issue A look at the new products from LDI and Parnell winners LED Hard edge spots LDI October 25, 2017

December End of the Year Wrap End of year wrap up of shows and highlites strobes November 25, 2017

Judy WangThe Greater ChinaWorldwide Focus MediaTel: [email protected]

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In-Depth and Comprehensive EditorialEvery issue of Projection, Lights & Staging News is packed with the news, features and columns that subscribers turn to for information and insights they can’t get anywhere else.

Industry News PLSN provides the industry with an inde-pendent editorial voice, covering the industry like no other news source.

Global News Concert touring, theatre and architectural lighting news from around the world.

On the Move Who’s who in the industry, and where they’re heading, plus the latest informa-tion of companies in transition.

Showtime PLSN readers get a chance to see their own work in print. They send us gig shots, crew credits and details about the gear they used.

The Biz Emphasizing the “biz” side of show biz — the all-important bottom line.

Feeding the Machines A veteran lighting programmer shares practical tips leavened with humorous observations of the joys and tribulations of life on the road.

Designer Watch Debi Moen checks in with designers throughout the world to report on their latest projects and where they are, help-ing readers keep up-to-date with their friends and peers in the industry.

LD-at-Large Humor and wisdom at the end of the day — on each issue’s last page.

Inside Theatre Topical discussions with the leading lights in the world of theatre, on and off Broadway.

Production Profile Lighting, video and set designers share their challenges, triumphs and insights about trend-setting touring pro-ductions.

Installations The artistry and engineering embodied within the venues themselves, and the people who make them happen.

Company 411 Every manufacturer that has risen to prominence in our industry has done so against huge odds. Here are their stories.

Buyers Guide A no-hype-allowed zone for industry professionals making critical buying decisions.

Road Test Sizing up a piece of gear on a trade show floor is one thing. Actually putting it to work on a real-world produc-tion is another. Here’s where industry pros put the rubber to the road.

Interviews and Chats PLSN speaks with the Legends behind the scenes as they chat about life and the productions they have been involved in.

Projection Connection A unique magazine-within-a-magazine format covering video projection and the latest LED video display ele-ments within touring productions and fixed installations.

Video Digerati Observations and insights from a working video program-mer.

Focus on Fundamentals A must-read for industry newcomers, and a refresher for industry pros.

Product FocusA new look at technological innovation within select groups of products. Product Focus will cover product developments with more depth and breadth than ever before.

MONTHLY EDITORIAL SCHEDULED ISSUE EDITORIAL

FEATURED PRODUCTS


Colin Kavanagh to Lead Philips Entertainment Lighting from Dallas

Bandit Lites Opens New Office in Charlotte, NC

Hometown Hero Finalists Selected, Voting Begins for 2016 Parnelli Awards

News Spotlight

Vol. 17.08September, 2016

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Designer InsightsAdele's "Live 2016" Tour

InstallationsJewel Nightclub in Las Vegas

38 42 64Parnelli ProfileVideo Visionary Danny O'Bryen

WHAT’S HOT

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32PRODUCTION PROFILE

COVER PHOTO BY STEVE JENNINGS

Mega-Lite Medusa 4X5R

Band Celebrates its 20th Year with A Head Full of Dreams Tour

4Wall Entertainment Buys BML-Blackbird's Film/TV Division

Houston Police Make Arrests in Trailer Valuables Crime Ring

Hometown Hero Nominations Are In, Voting Begins

News Spotlight

Vol. 17.06July, 2016

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Wide FocusLD Ed Warren on Mumford & Sons

Lighting for the CameraMatch Game, Ready for Prime Time

34 36 44Sports LightingInvictus Games Orlando 2016

WHAT’S HOT

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TourPro LightSky AquaBeam

Web: www.omnisistem.comTel: (253) 395-9500

OmniSistem

PIXEL MAPPING LINE ARRAY

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PRODUCTION PROFILE

Abstract video, lasers and automation animate “Six String Circus” Tour COVER PHOTO BY TODD AND CHRIS OWYOUNG

plsn.com • 2013 JANUARY 11

GLOBALNEWS

ST. PETERSBURG, Russia — Leningrad, a Russian band that performed at the Yubileyny sports complex here last fall, was lit by LD Elena Morozova, who incorporated 10 Mar-tin MAC Vipers into the rig. Rental company Euroshow supplied the Vipers, which made their first appearance in the country, along with the rest of the lighting gear.

Morozova used the Vipers for a variety of new lighting looks, including hard-edged beam effects. Euroshow owner Aleksan-dr Blednykh also credited the fixture for its brightness, speed and versatility.

Along with the Vipers, Morozova’s design included eight automated pods of MAC 101s, each with 16 of the compact LED fixtures. Martin LC 2140 LED video screens fed by a media server complemented the pod visuals.

Sixteen MAC 2000 Wash XB moving heads and 20 MAC 250 Beam fixtures rounded out the Martin fixtures used for the shows.More details at plsn.me/TulXoB

CARACAS, Venezuela — LD Roberto Penso incorporated 54 fixtures from Chauvet Professional within his design for the Miss Venezuela Pageant, which was televised from the Hotel Intercontinental here. Chauvet’s Q-Wash 560Z-LED fixtures, provided by VLPS, proved a good fit for the challenges posed by the production, including a small stage and low ceiling within the hotel ballroom. For audience lighting, Penso used 36 COLORado 1 Tour wash lights.

“A little while ago, LEDs didn’t look too good on TV,” Penso noted. “But since the Q-Wash 560Z-LED lights use Cree LEDs with high CRI value, color rendering is no longer a negative issue, especially with the HDTV technology, which perceives colors more accurately. These LED fixtures performed amaz-ingly well.”More details at plsn.me/TulXox

Qlimax Hardstyle Revelers Immersed in Sound, Visuals

The design team included SGM gear in the rig.

ARNHEM, The Netherlands — Qlimax, a Q-dance hardstyle event that drew more than 30,000 revelers to the GelreDome soccer stadium here Nov. 24, provided an immersive visual environment that relied heav-ily on circular truss and projection screens. The lighting and production design team, comprised of Jonas Smith, Tamil van Draanen and Marcel Binnenmarsch, also included SGM fixtures in the rig. There were 24 SGM Six Pack (SP-6) blinders operated from the VIP decks along with 28 SGM P-5 washlights and 25 X-5 white strobes flooding the stage. More details at plsn.me/Tum0kc

Compact LED Fixtures Fit Well with Miss Venezuela Pageant’s Petite Stage

Danish Fixtures Light Leningrad in St. Petersburg

The 10 Martin MAC Vipers in Leningrad’s rig served as the fixtures’ debut in Russia.

LONDON —White Light supplied lighting gear to The Bodyguard, a new musical based on the popular 1992 film featuring Whitney Houston and Kevin Costner.

The show, which opened recently, is directed by Thea Sharrock and produced by David Ian and Michael Harrison, with scenic design by Tim Hatley and lighting by Mark Henderson.

White Light has collaborated regularly with Henderson over his 30-year career, supplying gear for such long-running shows as Grease and Chitty Chitty Bang Bang. For The Bodyguard, Henderson is using gear including Martin MAC 2000 Performance, MAC III Profile and MAC 700 Profile spots, MAC700 and MAC TW1 Washes, Vari-Lite VL1000TS Spots and VL3000 Wash-es, Coemar Infinity ACL-M beamlights, Clay Paky Sharpys, Martin MAC Aura and i-Pix BB4 LED washlights, Philips ColorKinetics ColorGraze Powercore LED battens and a Chroma-Q Color-Web. In addition, the rig features ETC Source Fours, PAR cans, Rainbow scrollers, Robert Juliat Cyrano followspots plus Unique haze machines, Viper smoke machines and Le Maitre Freeze Fog low smoke effects. The rig is controlled from an ETC Eos control system.

Working with Henderson on the show is a lighting team led by production electrician Fras-er Hall and programmer Stuart Cross. The show’s production manager is Matt Towell. More details at plsn.me/Tum0AG

White Light Supplies The Bodyguard on Stage

LONDON —British pop star Robbie Wil-liams performed at London’s O2 Arena for three nights of concerts Nov 22-Nov 24. The final night was broadcast across England’s Sky1 network. PRG supplied the lighting package, including its Best Boy 4000 Spot luminaire, for creative director Willie Williams and set designer Mark Fisher. Willie Williams brought in LD Allen Branton to consult on the lighting for the televised show.

With an arsenal of bright lighting and

video effects flashing in synch with the music for the in-the-round production, revealing — and then concealing — both the stage and surrounding audiences served as a key design objective. To pull that off, Willie Williams and Branton needed bright, long-range fixtures with strategically shaped shutter positions and beams. The 40-plus Best Boys proved up to the task.

“One of the challenges is that you don’t always want to see all the audience and the

architectural elements in all the shots,” Bran-ton said. “We knew that we would need a high output, shutter-able light that allowed us accurate control to cut in to just the audi-ence at the barricades and not show security or crew, as well as controlling spill. The Best Boy is a great light, which gave us the fine control that we needed, and with its clever optics, gave us far more output than I would have expected.”More details at plsn.me/Tum0k8

Robbie Williams Returns to U.K. Stage in Style with Strategic Lighting, Video

LD Roberto Penso specified Q-Wash 560Z-LEDs and other

fixtures from Chauvet.

05-11.100.1301.indd 11 1/11/13 2:33 PM

Sure, you know iWeiss.Or do you?Don’t confuse it with I. Weiss, the cen-

tury-old supplier of soft goods to Broadway productions. Building on that legacy, the com-pany continues to embrace that market while expanding into others. This includes putting their rigging expertise to work on different projects, and their foray into products like the ViaWinch.

“We felt that ‘I. Weiss’ did not fully express all we do today, or the idea that we look forward to applying our expertise to custom work that requires especially creative solutions,” says pres-ident David Rosenberg on their 2011 name change to iWeiss Theatrical Solutions. “We want to apply what we’ve learned through our exten-sive theater work to other areas. For example, when a museum asks if we can rig an 80-foot whale skeleton, we don’t hesitate to say yes.”

“A lot of companies view us as a drapery company, as a company that does high end theater soft goods,” says Jennifer Tankleff, vice president. “But we want more of them to know of our extensive experience in rigging and au-tomation.”

Rosenberg adds that iWeiss has developed partnerships with companies like Stage Tech-nologies, J.R. Clancy and Serapid. “It’s great to work with respected companies like them, and we want to do more of that,” he says. “We want to focus on what we do best with a wider range of clients in a larger live entertainment sphere.”

Where They’ve BeenThe company’s history is one of the oldest

and most esteemed in the live event industry, with roots going back to 1900. By the late 1970s, the company’s reputation for quality contin-ued to thrive, but the owners faced business challenges that were overwhelming. I. Weiss enjoyed a rebirth in 1981 when it was reincor-porated, and Rosenberg assumed the helm in 1985.

When the economic downturn hit in 2008, at first the company didn’t experience too great a change, as many projects they participate in are of the big, long-term variety. “But money for nonprofit and school projects dried up, and Jen-nifer [Tankleff] and I looked at things and said, ‘Okay, hard times are coming, how can we plan for it?’” Rosenberg is proud they didn’t have to let anyone go, and that’s because of what they did in terms of planning and budgeting.

But it’s equally important what they didn’t do: “We concentrate hard on keeping the focus on what we do best, rather than getting our hands in every nook and cranny of the entertainment business,” he explains. “We are really good at anything soft goods related, rigging, and design and build. We solve problems with that special custom job. So the mission now is to apply more of those skills for a greater array of clients.”

In May of 2010, after 28 Years, iWeiss moved from Long Island City across the Hud-son to swankier, larger facility in Fairview, NJ measuring 30,000 square feet. The new site is home to the company’s sales team, drapery fabrication and rigging shop along with its production and project management staff. It features a large layout, hanging space, and room for efficient levels of inventory. “We have a steel shop that handles all the fabri-cation of our ViaLift and ViaWinch plus other projects,” Rosenberg says. “It’s wonderful be-cause we can be better, faster, and more com-petitive than ever.”

The Theatrical TwistWhile rigging has always been part of the

iWeiss repertoire, the company has made an effort to become more dominant in that com-

petitive field. In 2001, Richard Parks joined the company. The longtime member of IA-TSE local 635 quickly rose to the senior project manager position and is responsible for all of their historical renova-tion projects in addition to the many custom rigging related projects. “He has really grown our installation design rigging department,” Rosenberg says of Parks. “And then, two years ago, Paul [Kelm], previously a head of automation at Cirque du Soleil, joined and began to design machinery for us.” Today Kelm, often referred to as the “mad scientist” of the company, has created a lot of custom line shafts; batten hoists; curtain machines; con-trols; and other integral parts

for theaters, colleges, and big PACs. (For a closer look at one recent project, the Capitol Theatre in Port Chester, NY, see PLSN, Oct. 2012, page 68).

“It’s important that lighting, staging and pro-

duction companies understand that we provide a different area of rigging expertise,” Rosenberg says. “There are plenty out there who are good with truss and chain motors, but we bring a the-atrical twist to the arena that others just don’t have.”

iWeiss played a key role in the renovation of the David H. Koch Theater at Lincoln Center in New York City. Parks led a team that put in a first-of-its-kind acoustic fire curtain. It’s the traditional fire safety curtain for use in an emergency, but it’s also a reflective orchestra performance shell that’s so soundproof an orchestra can practice in the pit while a ballet troupe practices on stage to a piano without one hearing the other. The 66-foot wide by 43-foot high steel frame weighs 23,000 pounds and the winch that operates it was, as just one example of their partnerships, engineered and fabricated by J.R. Clancy. The custom arbor is 30 feet high and contains 290 counterweight bricks weighing 73 pounds each. Motorized light ladders are mounted with trol-leys to 11-foot I-beam sections for lateral move-ment, and each I-beam is motorized with a dual drum line shaft for vertical movement. “The proj-ect was finished on time and on budget, and it’s something we’re very proud of,” Rosenberg says.

40 MARCH2013•plsn.com

From left, iWeiss’ David Rosenberg, Jennifer Tankleff and Richard Parks

COMPANY411By Kevin M. Mitchell

iWeiss’ ViaWinch was nominated for a Parnelli “IT” award in 2011

84 SEPTEMBER 2016 • plsn.com

LD-AT-LARGE

By ChrisLose While touring the world, I have spent

far too many hours sitting at FOH, wondering who in the world designs some of these venues. I decided that I should put my two cents in writing instead of stew-ing in my own disgust of poor forethought. Here are a few remarks that I would like to make to anyone who is considering design-ing an entertainment venue.

›› CenterlineAfter coffee, the centerline is the first

thing a production asks for in the morn-ing. Please make sure that the centerline is visible and accurate. The centerline is the seed that the stage grows from. If that seed is askew, the entire production can become tainted. I have seen one too many productions screech to a halt because the stage was built to a piece of tape that the carpenter thought was the center line, and the lighting team built their rig to the cen-ter of the truss, which isn’t actually the cen-ter of the stage, and the riggers rigged to the center beam, but that’s not the center of the room. All departments need to work off of the same centerline to assure symme-try and beauty. The centerline of the stage has to match the centerline of the truss, the motors, the speakers, the audience and the mirror ball. That brings me to my next ob-servation.

›› SymmetryMake your performance space as sym-

metrical as possible. Asymmetry has a time and a place, but it’s not in your multi-pur-pose room. Leave the asymmetrical weird-ness to Cirque du Soleil and Frank Gehry. Your venue needs to be symmetrical so that a 40-foot down stage truss can reach 30 feet of trim on stage left AND on stage right. This means that if there is a staircase from the deck to the dance floor on stage left, there should be a staircase on stage right as well. Make sure that when the giant red curtain closes, it meets in the middle.

“I learned a long time ago that you can get asymmetrical looks from a symmetrical design — but it doesn’t work the other way,” says LD Steve Lieberman of SJ Lighting. “When you’re designing a show that is pre-senting a centerpiece — a stage element, a DJ booth, whatever it may be — the clean-est looks always come from symmetry.”

›› Make it DarkWhite walls and roofs have no place in the

theater. That goes for yellow, orange, beige and amber as well. Performance spaces are supposed to be dark so that all of the audi-ence’s attention is on the performance. The room can be as decorative and ornate as your designer heart desires but keep your color tones dark. When the house lights go out, the room needs to be DARK. I under-stand the need for illuminated exit signs, but the flickering LED tube in the house right vestibule lighting the Grecian urn needs to go out when I want it to. House lights that don’t go out are useless.

Here is a perfect example of bad house light preparations as told by lighting crew chief Ronnie Beal:

“It was 1999, and I was on tour with the band, Live. We were playing colleges. I don’t recall the specific venue, but it was a bas-ketball arena, and we were the first show they had ever done. After we loaded in, I in-quired with the local promoter about house lights. After a few “I don’t knows,” we located a building maintenance man, who seemed to think that the house lights were always on. We found a breaker panel, but killing the breakers just enabled the emergency lighting. After a couple more maintenance people got involved, it occurred to one that maybe the motion sensors in the hall turned

the lights on and off. We put gaff tape over the sensors, and nothing happened. As we were looking for more sensors, the lights fi-nally went out. Uncertain, we pulled the tape off one sensor, and the lights came back on. We then put the tape back on, and started a stopwatch. Seven minutes later, the lights went out. A few more tests revealed a sev-en-minute delay between no motion and the lights going out, but the delay wasn’t consistent. 7:15, 6:58, etc. So for both the opening act and the main act, we had to cue ‘Go houselights in seven minutes’ and cover the sensor.”

›› Docks Need to Match the VenueDo not think that for one second that a

4,000-seat venue with a 70-foot stage and a 50-foot trim will load in through a half-mile hallway, up a passenger elevator and through the back freezer. If you want to book big bands, they come with big pro-ductions. That means tractor-trailers — lots of them. Semis take up a lot of space, and you will need to put them somewhere. Once they are parked, they will spill forth metric tons of gear, and all that equipment needs to get to the stage in the most efficient man-ner. Your design needs to allow for that. You should consider putting these docks as close to the stage as possible. You could get real-ly creative and actually allow the trucks to

off-load directly onto the stage. If the path requires an elevator, you need to ensure that the elevator is proportionate to the stage. If you have to make the load in path down a hallway, make sure that the path is level, wide and clear of obstructions. Speaking of…

›› Storage Space is Not an OptionIt is a necessity. Just because you de-

signed a stage large enough to fit a 747 does not mean that any of that space can be used for storage. In fact, the opposite is true. Your stage needs to be emptied for the next pro-duction, and now you need a space to fit your 747. Verify that your venue has a proper amount of storage to suit your performanc-es. Make the storage areas accessible. I don’t want to take all of my dead console cases down a staircase, through a doorway, and shove it in the keg freezer. I need it immedi-ately available after the show.

›› Put Power and Data EverywhereHas an accountant or contractor ever told

you that you don’t need to consider putting an outlet on that wall because no one will ever need power there? If so, you need to be prepared to do battle for that outlet. The very first corporate event that confirms in that room will put a banquet table with an ice sculpture, carving station or LED uplight against that wall. Your venue needs to be ready for such an occasion because it hap-pens ALL THE TIME. Put 110V or even 220V connectors everywhere that you can imag-ine. If you don’t, your venue will be covered with a sloppily taped-down spaghetti of or-ange and black extension cords crisscrossing every doorway and exit at every event.

When designing a venue, beauty needs to be in the forefront of your thought process. However, function needs to take priority. Please send an email to at least one grumpy old technician who can give you a list of things that are wrong with every third ven-ue that they have ever set up shop at. Ask them how to fix those problems, and take that into account before you submit your plans for approval. You will get mad props from technicians, production managers and touring bands for years to come.

Chris Lose is a lighting director, content de-signer, and programmer who operates out of Las Vegas-based Q3 Event Productions (q3lv.com).

Theater Builders of Tomorrow – Listen Up!

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PC LONDON — d3 Technologies and White Light have created the first d3 on-set projection mapped TV studio, using the d3 2x2plus and two d3 4x4pro’s fully loaded with their industry first, patented Quad-SDI video format conversion (VFC) cards. Located at London Studios, ITV Studios is the UK’s biggest TV produc-tion and distribution company.

One of the sets, designed by Paul Sud-low, hosts a number of sports programs, including highlights coverage of UEFA’s Champions League and Europa League, Formula E auto racing and highlights of rugby’s recent Six Nations Championship.

Sudlow created a multi-purpose, re-tractable sports set to accommodate the diverse programming. It features individual truckable units, which can be wheeled into the studio. Once in posi-tion they are projection mapped using five Christie DLP projectors with their new ultra-short-throw lenses. The pro-jectors turn the truckable units into a giant digital canvas and are fed from a 4x4pro server on the studio floor with control from a 2x2plus master in the studio gallery. Content for each show is stored on the server, allowing the oper-ator to paint a dynamic background for each show. ‘Live’ feeds are also routed from the vision mixer in the studio’s gal-

ITV Studios’ Live Sports Programming Gets Projection-Mapped Boost

PROJECTION CONNECTION

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77 Video World

PC CINCINNATI, OH — The Cincinnati Symphony Orchestra once again brought classical sound, light, and excitement to The Queen City. “Lumenocity 2016: Re-Imagine” took place Aug. 5-7 at CSO’s temporary home at the historic Taft Theatre.

Making its debut three years ago, 2016 marked the fourth and final year for the

Lumenocity event, and the first time the event was held indoors.

Lightborne, the local creative content collective and sponsor, and Okulus, the U.K.-based show designers, called on MooTV to map their vision to the Art Deco architecture within the 85-year-old Taft Theatre, the Cin-cinnati Symphony’s temporary home.

Moo TV utilized an array of 18 Barco projec-tors, supported on custom designed frames, driven by a coolux Pandoras Box media server system to transform the ornate palette with Lightborne’s custom animated content.

“Lumenocity 2016: Re- Imagine” was a suc-cess, selling out the entirety of its three-day, 10-show run for a total 22,000 attendees.

DMX Mini-Servers Simplify Multiscreen Event in Washington, D.C.PC WASHINGTON, DC — Atlanta-based

production company ON Event Services (OES) recently utilized 16 ImageCue servers in Washington DC for a longtime client. The event was staged with a “Mission Control” theme using a 15-by-45-foot (HxW) main video screen using four blended HD pro-jectors, six smaller screens with 7K projec-tors, and 14 presenter booths, each with a 70-inch flat panel display. Each booth had its own unique Presenter logo video loop, and was switched to play the opening and closing overall event videos.

Normally it would be a difficult challenge to route and switch 16 video sources to 20 different screen surfaces, and require a mas-sive amount of cable. OES utilized 16 Image-Cue DMX controlled image servers to play all media, triggered off of a single cue fader

from the lighting console on a single DMX universe. This synchronized all video and lighting from a single button.

“We were excited to be one of the first companies out there to invest in the Image-Cue, and it didn’t disappoint,” said ON Event Services LD Eric Sinclair. “Controlling a video system of this complexity became very sim-ple. When we were asked if all the monitors except the one in the booth being high-

lighted could dim down, it was no problem. Programming is as easy as any moving light, in fact easier, since it’s only 12 channels of control. Updating last minute video content was super easy; just pull the USB Flash drive, update it and re-insert it. The ImageCue is a great little tool with huge potential, and we can’t wait to find more uses for it.”

ImageCue is distributed in North America by San Antonio, TX-based Mega Systems Inc.

Orchestrating Visuals for Cincinnati’s Symphony

MooTV projection-mapped the Taft Theatre for CSO’s Lumenocity 2016 event.

continued on page 74

OES used 16 ImageCue DMX units for the “Mission Control”-themed project.

White Light provided d3 media servers.

To learn more, connect with us on

Reliable, Versatile and Highly Creative:The largest range of Premium Seamless

Switchers in the world

“Analog Way systems ran 24/7 for three weeks and never let us down” Jimmy Geelen, vision tools NL

Video Supplier: Faber AudiovisualsCourtesy of JLousberg ©

To learn more, connect with us onAnalog Way Americas HQ I +1 678 487 6644 I www.analogway.com

NEW! Rev4 Firmware offersmajor enhancements

PLSN-Sept2016-Half-page.indd 1 06/07/2016 16:02:51

ONTHEMOVE

4Wall named Tom Stanziano business de-velopment manager, a new position. Stanzia-no’s 25 years of experi-ence include positions with Philips Entertain-ment Group, Seachang-er, Joel Osteen Ministries and Lakewood Church. He will be based in the 4Wall Nashville office while supporting the entire southeast region.

Behind the Scenes noted that LD and the-atre consultant Dawn Chiang has joined its Board of Directors. Chi-ang has designed light-ing on Broadway, Off Broadway, the New York City Opera, regional theatres across the coun-try, and concert tours.

Enttec Americas recently named Bran-don Mitchell technical sales and support, Roz Dahlie training and education coordinator and Kaitlin Gill event production manager/

master electrician. The company, which has its headquarters in Melbourne, Australia, is a leading manufacturer and distributor of light-ing and lighting control products.

Creative Technology (CT) acquired The Wireless Works, a specialist event service business based in Godalming, U.K. that de-livers radio communications, intercom and data services to the broadcast and live event markets. The acquisition will reinforce CT’s new Integrated Networks division. Wireless Works founder Tristian Bickerton, will oversee the transition as the operation moves to CT’s location in Crawley, U.K.

d3 Technologies is partnering with Tech-nical Direction Company (TDC) Australia. TDC, based in Sydney and Melbourne, was established 35 years ago and is recognized as the leading Australian supplier of video tech-nology solutions for major events and live productions.

GoVision hired Mark Johnson to become the company’s new VP, business development. In his new role, John-son will lead GoVision’s fixed installation sales efforts while also help-ing to expand the service and maintenance group to support the company’s fixed instal-lations. Johnson joins GoVision after 18 years with Daktronics, where he most recently served as Regional Sales Manager.

LMG named Andrew Davis sales engineer for the company’s systems integration divi-sion. He has more than five years experience as an audio engineer and theatrical technical director for houses of worship.

Morpheus Lights, the U.S distributor of Ayrton products, named Pete Engel Ayrton prod-uct support specialist. Based at Morpheus’ Las Vegas headquarters, En-gel will be responsible for national customer service and technical support of the Ayrton LED product line. Prior to Morpheus and Ayr-ton, Engel spent many years representing Robert Juliat products in the U.S.

Morris announced two new team mem-bers to its Light & Sound division. Lonnie Taylor has been named director of business development & sales. Chas O’Bradovich joins the company as lighting department man-ager. Taylor brings nearly 30 years of tour management and production experience to Morris. O’Bradovich previously worked as a technician at Theatrical Media Services.

Riedel Commu-nications hired Jake Halverson as sales ad-ministrator to help with increasing North Ameri-can sales. Prior to joining Riedel, Halverson served as the used equipment sales manager at PRG.

Robe announced that Jens Poehlker is joining the Robe Asia Pacific team based in Singapore as managing director. Poehlker joins Robe after opening and running the Singapore office of MA Lighting for the last nine years.

White Light named Tom Wilkes business development manag-er. Wilkes, who joins White Light from Vision SL, a technical produc-tion company that he founded in 2009, will focus on White Light’s various rental operations.

» TOM STANZIANO

» DAWN CHIANG

» PETE ENGEL

» CHAS O’BRADOVICH» LONNIE TAYLOR

» JAKE HALVERSON

» JENS POEHLKER

» TOM WILKES

» MARK JOHNSON

Got the scoop on industry movers and shakers? Send your news to

[email protected]

» BRANDON MITCHELL » ROZ DAHLIE » KAITLIN GILL

32 APRIL 2013 • plsn.com

For more than a decade, The Killers have been pumping out hard-driving, danceable and emotionally-charged

rock music, with glimmers of techno pop. Through his eight years (and counting) as a member of the band’s production team, lighting designer/director Steven Douglas has kept the visuals as fresh as the music.

An “Uncluttered” EdictFor their 2012/2013 tour, in support of

their album, Battle Born, the Killers issued an edict to Douglas: to keep the live show design “uncluttered” with a bold and stark approach. “The band “wanted to keep this tour really simple, visually,” he notes.

That approach also ties in, visually, with the Battle Born album art showing “moun-tains, big sky, and the Las Vegas desert,” adds Douglas. (The album title is the same as Nevada’s state motto.)

Douglas got an advanced look at the al-bum about three weeks prior to its Sept. 2012 release, and noted how its graphics tie in with the music as well, which leans away from techno and more toward “the Bruce Springsteen end of the musical spectrum.”

“Ironically, even though this is more of a stripped back design, it probably has the most gear we’ve worked with,” Douglas continues. “Last time when we went out, it was much smaller. We had really low-res video and not a lot of fixtures. We were playing arenas, using maybe 40 or 50 fix-tures.

“For this tour, we are not using every light for every song,” Douglas notes. “Some songs are lit by spots, others by LED fix-tures. Some songs are lit by wash lights and others by Sharpys. This time out, it’s about using gear sparingly.”

Along with the combination of a para-doxically bigger fixture count for the lean-

er visual design, Douglas faced the challenge of “drastically different” set lists with “a lot of re-program-ming” as the tour kicked off in U.S.

and U.K. arenas last fall. The Killers have since whittled down their nightly perfor-mances to a total closer to 20 tunes.

“I’ve been with these guys a long time now — this is the fourth album I’ve done with them,” Douglas notes. “With each new tour that comes around, it’s a case of learning new songs and re-imagining the old ones, because you have already done three or four different tour versions of them.”

New Fixtures, New LooksOne way to ensure that your design

won’t be able to slouch toward compla-cency is to use new gear. “I’ve used the same combination of fixtures for the last three or four tours, and I was getting a lit-tle too comfortable with them,” Douglas says. “It all started to look the same.”

A visit to Martin Professional headquar-ters in Denmark opened his eyes to some new visual possibilities, and he ended up adding 22 of the new 1000W Martin MAC Viper Profiles into the Battle Born touring rig. “I saw them when they were in produc-tion — I was very impressed.”

The Viper’s virtues, Douglas says, in-clude the “flatness” of its beam, distinctive gobos, fast zoom function, compact size, and the fixture’s ability to hold its own against powerful washes and vibrant vid-eo. “I can wash a whole stage with three Vipers,” he says, adding that “they really come in handy, because we really need something to stand up against the video screen.”

Along with the Viper Profiles, other fixtures framing the main video screen’s 6,000 NITs of potential light output in-clude Martin’s MAC Auras, MAC 2000 Wash XBs, Atomic 3000 DMX strobes with Atom-ic Colors heads, Thomas 2-Lite DWEs and Clay Paky Sharpys.

Split Screen, Straight TrussThe screen itself, an XL Video-supplied

semi-transparent (15.6mm pixel pitch) Pix-led F-15 screen measuring 48 by 22 feet in size (WxH), splits horizontally during the course of the show. The upper 16-foot sec-tion flies up, separating from the six-foot-high floor-mounted portion.

The screen split reveals a straight truss with “Vipers top-rigged,” says Douglas, “and 14 MAC Auras outrigged from the scaffolding piping. This wall of moving lights gives the video screens dimension.”

The design evolved from earlier legs of the tour, where the split screen revealed seven Vipers mounted atop seven, three-meter-high upstage truss towers, which also secured the 14 MAC Auras. “The move toward straight trussing was done to allow for more crossover space upstage, behind the stage,” Douglas notes.

Video content reflects the band’s col-laboration with top talents including Tim Burton, whose video for the song “Bones,” flashes on the upstage screen. Other con-tent creators include Warren Fu and Chris Callister.

“Having a number of artists generating content takes a little bit of the burden off,” notes Douglas. “They’ll turn up with files that you can just drop into a media server. That helps, so I can concentrate my energy on other things. I don’t have much involve-ment with video creation, but I do get shown the rough cuts, just to make sure they all tie in color-wise with what we’re doing on stage.”

Show Control and VideoDouglas uses an MA Lighting grandMA2

Light console, with a second as backup, to control the lighting, video, live camera feeds and lasers. The console is using 2.6.8 software and is connected to an ArKaos MediaMaster Pro 3 server via ArtNet pro-tocol.

Battle Born TourLD Steven Douglas Goes Bold and Starkwith New Design, Gear

By WillRomano

The

PRODUCTIONPROFILE

LD Steven Douglas

TORE

Y M

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32-33.100.1304.indd 32 4/5/13 8:56 AM

plsn.com • 2013 FEBRUARY 5

NEW YORK — New technologies added to the festivities shared by auld acquaintanc-es for 2013’s New Years Eve celebrations, from Manhattan’s Times Square to the beaches of Brazil, with an equally wide range of produc-tion companies and manufacturers support-ing the spectacles.

NYE performances on Times Square’s Nivea Kiss and Countdown stages for ABC’s Dick Clark’s New Years Rockin’ Eve and NBC’s New Years Eve with Carson Daly included Tay-lor Swift, Train, Neon Trees, Carly Rae Jepsen, Psy, Yuri, The Voice winner Cassadee Pope, USO’s Liberty Bells and the Broadway cast of Million Dollar Quartet.

LD Paul Miller and programmer Paul Sonn- leitner used Martin MAC Auras and Clay Paky Sharpys provided by 4Wall NY to light the Kiss and Countdown Stages, which also fea-tured appearances by NYC mayor Michael Bloomberg and hosts including CNN’s Ander-son Cooper and Mario and Courtney Lopez.

“We were able to get more variety across the performances and have a little more flash,” Miller said, crediting the gear for help-ing overcome obstacles ranging from power, site access and time constraints to inclement weather and the need to compete with Times Square’s sensory overload. “Everyone was re-ally happy with the new look.” More details at http://plsn.me/VsRLIh.

Also in New York’s celebratory epicenter was AWB Design, providing a visual assist for MTV’s Times Square performances by Ke$ha, Sean Kingston, Ne-Yo and Conor Maynard, among others. The LMG Nashville-supplied gear included 22 Elation EPV762 MH moving head LED video panels.

Production designer Anthony Bishop of AWB collaborated with LMG’s Ken Gay to create the environment that worked for the live audience as well as for the cameras,

shoe-horning the gear within a set that of-fered only 11.5 feet of headroom. More details at http://plsn.me/XND8ir.

On Rio’s not-quite-as-frosty Copacabana Beach in Brazil, new technologies animating live music performances included some of the 70,500 Pixel Tablets that Tait Technologies provided for the London Olympics — in this case, 11,000 — that were flanking the stage on a series of nets. See related story, page 15. More details at plsn.me/TlR86M.

For a Widespread Panic show in Charlotte, NC’s Time Warner Arena, LD Paul Hoffman used new gear including Bandit Lites-sup-plied GLP impression X4s along with auld “workhorses,” Vari*Lite VL3000 spots.

Hoffman kept the panic to a minimum despite a perfect recipe for angst: the band has a 350-song repertoire; there was no set list in advance; Hoffman was learning the ropes on a console new to him (grandMA2); the band was making its first foray into video; and, since the band was on hiatus for most of 2012, Hoffman needed lots of new looks from scratch.

Along with the console and Martin Maxe-dia media server to feed content to Mirage video panels, Bandit provided GRN LED Pars, GRN LED Battens and Clay Paky Sharpys for the event. More details at http://plsn.me/ W7TjcE.

In Nashville, Bassnectar returned to Bridgestone Arena, with Michael Smalley’s visuals making the most of a new in-the-round stage setup. Christie Lites once again supplied the lighting, with a rig centered on Martin MAC III Profiles, the newer MAC III Air-FX and Clay Paky Sharpys. LMG’s video assist included the 11.25mm LED panels surround-ing the DJ table on the circular stage and a dozen 18.75mm LED screens extending out from the center scoreboard screen.

In Las Vegas, PLSN columnist Vickie Clai-borne, who is also a product specialist at PRG, used Avolites’ Ai media server to map pro-jected content onto set elements spanning a total 230 feet in width within the Aria hotel’s Bristlecone Ballroom for a big NYE 2013 bash

that included eight production numbers, a DJ, 14-piece band and 48 dancers. More details at http://plsn.me/Xt7sR4.

Also in Vegas, Chaos Visual Productions rang in 2013 with video support for big-name acts on the Las Vegas Strip including The Kill-ers and Red Hot Chili Peppers at The Chelsea Ballroom in The Cosmopolitan Hotel and by Beyoncé at the Wynn Hotel. Chaos also gave an assist to Dick Clark Productions’ Rockin’ New Year’s Eve. See related story, page 34.

Pyro Ignites Acoustic Foam in Brazil Nightclub; 237 Killed, 120+ Hospitalized

SANTA MARIA, Brazil — Author-ities have detained four people in connection with a fire that ripped through the packed Kiss nightclub in this southern Brazil city in the early morning hours of Sunday, Jan. 27, killing 237. Pyro ignited acoustic foam, and the revelers, most of whom were college age, stampeded and were suffocated within minutes by the resulting smoke and fumes.

Five of the six members of the band performing at the time, Gur-izada Fandangueira, survived and were able to relay the details about how the fire started to officials, but one band member died after at-

tempting to re-enter the nightclub to retrieve an accordion, according to press reports.

There were also re-ports of security person-nel blocking exits tem-porarily, and of bodies blocking the entrance, preventing emergency personnel from reach-ing victims. 232 were reported to have died at the scene, with more victims succumbing af-

ter being hospitalized. The four detainees included two

band members and two co-owners of the club.

Similar tragedies include the 2003 fire that killed 100 people at the Station nightclub in West War-wick, RI, where pyro ig-nited foam insulation in the walls and ceiling near the stage. It took less than six minutes for that blaze to engulf the club, with a stam-pede-blocked exit add-ing to the death toll.

A 2009 fire at the Lame Horse nightclub in Perm, Russia, was

caused by fireworks designed for outdoor use igniting plastic deco-rations on the ceiling; 152 died as a result. Another celebration where fireworks ignited ceiling décor oc-curred in Buenos Aires, Argentina’s República Cromagnon nightclub in 2004; the death toll there was 194. More details at plsn.me/1257Yuk

CORRECTIONS

INDUSTRY & GLOBALNEWSNEWS

Joshua Timm

ermans

Bandit Lites gear lit Widespread Panic in Charlotte, NC.

Auld Acquaintances Meet New Technology for NYE 2013

PLSN’s Showtime Top 10 Tours of 2012 fea-ture (Jan. 2013, page 14-16) included the in-correct lighting company, an outdated crew list and other errors for Lady Gaga’s 2012 tour. The correct lighting company was Upstag-ing, with crew members including LD Patrick

Woodroffe, lighting director Mac Mosier, crew chief Oli James and lighting crew Tom James, Dave Evans, Mike Coryell, Richard Krohne, Bri-an Reed, Robert Starksfield and John Flynn. For a corrected Lady Gaga crew and gear list, go to plsn.me/LadyGaga2012fix.

In the same Showtime feature, the gear list for the Jay-Z/Kanye West tour listing should have included 90 Elements Krypton 25 and 110 Elements Krypton 10 fixtures, and the vid-eo company supporting Bruce Springsteen’s tour, Pete’s Big TVs, should have been credited.

Also, PLSN’s new “On the Road” feature (page 8) on Demfis Fyssicopulos included an outdated Maroon 5 graphic element; it does not reflect his design for the band.

PLSN regrets the errors.

Drew

Res

sler/r

ukes

.com

4Wall provided lighting for Train in Times Square.

Christie Lites and LMG supplied lighting and video for Bassnectar in Nashville.

APP OF THE MONTH

PRG’s iView ArtNet, Page 10

IN MEMORIAM

Remembering Troels Volver, Page13

5-15.100.1302.indd 5 2/5/13 4:40 PM

62 SEPTEMBER 2016 • plsn.com

BUYERSGUIDE“Pancake” Style LED Wash FixturesBy NookSchoenfeld

The first moving LED wash lights appeared on the scene about a dozen years ago. Upstaging lighting took a cou-ple hundred Martin MAC 300s and had them retrofitted

with RGB “Skittles” LEDs on the front, replacing the arc light source. LD Leroy Bennett requested such a fixture be made. Within a couple years, GLP came up with their series of Im-pression LED moving wash lights. Because these lights had no base and seemed to be able to just flip over in any direction at an incredibly fast rate, LDs started to refer to them as “pan-cake” style fixtures. These fixtures have undergone transfor-mations and modifications, and it didn’t take long for them to start selling like hotcakes. Today, every major manufacturer offers at least one fixture that fits within this category. Each fixture has at least one unique aspect or feature that separates them from the rest. Look here for who’s offering what this year. adj.com

ADJ Inno Color Beam Z19

No. of LED cells: 19Type of LED: 10W RGBWTotal wattage: 190WCooling element: Fan cooledBeam angles: 10° to 60°Motorized zoom: YesWireless DMX option: NoColor correction built in: NoIndividual control of each cell: NoContinuous pan or tilt: NoUnique feature: PowerCon In/OutSize: 13” x 7.5” x 15.75”Weight: 21 lbs.MSRP: $1,199.99Comments: Perfect for clubs, the-aters, churches and concert produc-tions. LEDs will keep the party going for 50,000 hours.

No. of LED cells: 19Type of LED: 16W RGBWTotal wattage: 285WCooling element: FanBeam angles: 11°-58°Motorized zoom: YesWireless DMX option: NoColor correction built in: YesIndividual control of each cell: YesContinuous pan or tilt: NoUnique feature: Glow background LED and 3 layers of controlSize: 12.5 x 8 x 14.5”Weight: 17.5 lbs.MSRP: $2,000Comments: Backlight Glo eye-candy effects can create a multi-layered dy-namic effect that will wow any crowd.

blizzardlighting.com

Blizzard Lighting Stiletto GLO19

No. of LED cells: 19Type of LED: 25W RGBW+Amber+-Cyan+UVTotal wattage: 600WCooling element: FanBeam angles: 5° to 50°Motorized zoom: YesWireless DMX option: NoColor correction built in: YesIndividual control of each cell: NoContinuous pan or tilt: NoUnique feature: 7-color LED, silent modeSize: 16.5 x 11.2 x 22”Weight: 47 lbs.MSRP: $6,000Comments: Color temperature presets from 2,700 to 8,000K; selectable dimming curves and electronic strobe.

elationlighting.com

Elation Pro Platinum Seven

No. of LED cells: 19Type of LED: 15W RGBWTotal wattage: 285WCooling element: FanBeam angles: 10° to 60°Motorized zoom: YesWireless DMX option: NoColor correction built in: YesIndividual control of each cell: NoContinuous pan or tilt: NoUnique feature: Aura eye candy effectSize: 11.9 x 11.9 x 14.3”Weight: 14.4 lbs.MSRP: $6,435Comments: Includes unique color macros, synchronized color and aura effects.

martin.com

Martin/Harman MAC Aura XB

No. of LED cells: 7Type of LED: 12W RGBW quad color LEDsTotal wattage: 106WCooling element: FanBeam angles: 8°Motorized zoom: NoWireless DMX option: NoColor correction built in: NoIndividual control of each cell: YesContinuous pan or tilt: NoUnique feature: Compact moving head beam with pixel controlSize: 10.5” x 6.5” x 12.5”Weight: 12 lbs.MSRP: $699Comments: Individually programma-ble LEDs, and allows for punchy bold light even in pastel shades.

megasystemsinc.com

Mega-Lite Axis QD7

No. of LED cells: 19Type of LED: 15W RGBWTotal wattage: 360WCooling element: Variable Speed FansBeam angles: 8 ° to 40°Motorized zoom: YesWireless DMX option: NoColor correction built in: YesIndividual control of each cell: YesContinuous pan or tilt: YesUnique feature: Three Zone LED ControlSize: 18.5 x 13 x 13”Weight: 34 lbs.MSRP: N/AComments: Bright homogenous beam with a large zoom range. 19 RGBW 15-watt LEDs deliver 5,800 lumens and a wide color palette.

lighting.philips.com

Philips Showline SL Wash 350

No. of LED cells: 37Type of LED: 15W RGBWTotal wattage: 900WCooling element: FanBeam angles: 7° to 50°Motorized zoom: YesWireless DMX option: NoColor correction built in: YesIndividual control of each cell: YesContinuous pan or tilt: NoUnique feature: Indexing and rotat-ing front accessory holder built inSize: 16.9 x 7.3 x 20.9”Weight: 34.4 lbs.MSRP: $8,499Comments: Auto-charging battery for menu control. Ultra fast zoom, Macro operation mode with built in pattern effects

germanlightproducts.com

GLP impression X4L

No. of LED cells: 19Type of LED: Osram 15W RGBWTotal wattage: 380WCooling element: Active Thermal ControlBeam angles: 12° to 65°Motorized zoom: YesWireless DMX option: NoColor correction built in: YesIndividual control of each cell: YesContinuous pan or tilt: NoUnique feature: On Board Graphics/Lenses; Indigo High-LighterSize: 35 in x 23 in. x 31 in.Weight: 38 lbs.MSRP: $4,925Comments: Units ship in a dual road case. Powered by 15W RGBW LEDs as well as the addition of the deep hues provided by Indigo Highlighter.

highend.com

High End Systems SolaWash 19

No. of LED cells: 12Type of LED: 40W Osram RGBWTotal wattage: 651WCooling element: FanBeam angles: 7° to 49°Motorized zoom: YesWireless DMX option: YesColor correction built in: YesIndividual control of each cell: YesContinuous pan or tilt: NoUnique feature: Built in virtual gobo wheel with background colors for impressive atmospheric effectsSize: 12.72 x 9.17 x 18.54”Weight: 32.8 lbs.MSRP: $3,750Comments: Maverick MK2 Wash promises even output, custom de-signed optics, pixel mapping, virtual gobo wheel with background colors.

chauvetprofessional.com

Chauvet Pro Maverick MK2 Wash

No. of LED cells: 37Type of LED: 15W Osram Ostar RGBWTotal wattage: 750WCooling element: Fan and convec-tionBeam angles: 4°-60°Motorized zoom: YesWireless DMX option: YesColor correction built in: YesIndividual control of each cell: YesContinuous pan or tilt: NoUnique feature: Rotating beam option w/ micro-raysSize: 23” x 19” wideWeight: 46.3 lbs.MSRP: $10,700Comments: Versatile wash and beam light with impressive effects capability.

claypaky.it

Clay Paky A.leda B-EYE K20

ayrton.eu

Ayrton NandoBeam S6

No. of LED cells: 37Type of LED: Osram 15W RGBWTotal wattage: 500WCooling element: Heatpipe system w/variable-speed fanBeam angles: 8° to 40°Motorized zoom: YesWireless DMX option: YesColor correction built in: YesIndividual control of each cell: NoContinuous pan or tilt: NoUnique feature: 6,000 lumen out-put; individual ring controlSize: 14 x 18 x 10 “Weight: 30 lbs.MSRP: $5,902Comments: Very fast movement in a compact light.

INDUSTRY NEWS BUYERS GUIDE

GLOBAL NEWS COMPANY 411

LD-AT-LARGE PROJECTION CONNECTION

ON THE MOVE PRODUCTION PROFILE

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1/2 Tab Horz.w/9.9375 x h/6.65w/bleedw/ 11.125 x h/7.275

1/3 Tab Horz.w/9.9375 x h/4.325w/bleedw/11.125 x h/4.95


Junior Full Pagew/7.375 x h/9.75w/bleedw/7.9896 x h/10.375

2/3 Jr. Vertical4.85 x 9.75

1/4 Tab Horz.w/9.9375 X h/3.5w/bleedw/11.125 x h/4.125

2/3 Jr. Horz.7.375 x 6.5

1/2 Jr. Horz.7.375 x 4.875

1/3 Jr. Square4.85 x 4.85

1/2 Jr. Vertical4.85 x 7.5

1/4 Jr. Vertical2.375 x 7.01/3 Jr. Vertical2.375 x 9.75

FULL PAGE TAB FULL TABSPREAD

3/4 TA

B VER

TICAL

1/2 TA

B VER

TICAL

1/2 TABHORIZONTAL 1/3 TAB HORZ

1/4 TA

B VER

TICAL

JUNIORFULL PAGE

2/3 Jr.

VERT

ICAL

1/4 TAB HORIZONTAL

2/3 Jr. HORZ

1/2 Jr. HORZ

1/3 Jr. SQUARE

1/2 Jr. VERT 1/3

Jr. VE

RT

1/4 Jr.

VERT

1/4 Jr. HORZ

1/6 Jr. HORZ

1/6

Jr. VE

RT

Greg Gallardo - Publisher Entertainment DivisionTel: 702.454.8550Fax: [email protected]





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HIGH VISIBILITY

WEB SITE BANNER ADVERTISING PROJECTION, LIGHTS & STAGING NEWS

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HIGH VISIBILITYAcceptable Formats: .jpg, .gif, .swfSize requirements: around 200KNo FlashAll newsletter spots are EXCLUSIVE.

Set your sights on sales with a targeted customized e-mail blast. PLSN can deliver your message to more than 17,000 current e-mail addresses from our database. HTML or plain text with an attachment formats available. This is the best way to de-liver your personalized message straight to the desks of decision-makers throughout the industry. Custom e-mail blasts are only available to advertisers in Projection, Lights and Staging News Magazine who have reached a spending level of at least $15,000 in 2016/2017, or are contracted for a minimum of $15,000 for the calendar year of 2017.

Subject to availability. $1,100/month

Subject to availability. $800/month

Stacking order may alternate. $750/month

NEWSLETTER ADVERTISING PROJECTION, LIGHTS & STAGING NEWS

6000 S. Eastern Ave. Ste. 14-J • Las Vegas, NV 89119Tel: 702.932.5585 • Fax: 702.554.5340 • www.plsn.com

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Parnelli Hometown Hero Lighting Company Finalists Announced!

LAS VEGAS — PLSN readers have chosen the six regional winners of the 2013 Hometown Hero Award competition. These top vote getters from each of five U.S. regions plus all of Canada will be automatically entered on the Parnelli Awards ballot. PLSN readers will then get a chance to vote on which regional company will be awarded the coveted honor of Parnelli Hometown Hero Lighting Company of the Year. Click here for more...

Chauvet Opens Mexico SubsidiarySUNRISE, FL — Chauvet, based here, opened a full-service subsidiary in Mexico, Chauvet And Sons De Mexico S De Rl De CV, following the acquisition of the assets of long-time Chauvet distributor in Mexico, Novelties. Chauvet and

Sons De Mexico S De Rl De CV is a full-service branch office and dis-tribution center for the Chauvet Professional, Chauvet DJ, and Trusst brands. Click here for more...

Big Rig for 2013 MTV VMAs Included Martin, Robe Moving LightsBROOKLYN, NY — For the much-discussed and tweeted-about 2013 MTV Video Music Awards, held at Barclays Center here Aug. 25, the lighting rig was hardly at the center of attention, but was nevertheless an integral part of the show. LD Tom Kenny’s big rig included fixtures from Robe and Harman’s Martin supplied by VER. Click here for more...

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$1,500/per email blast“PLSN has been an invalu-able partner in helping us deliver our client’s message to lighting professionals. At the end of the day, it’s all about content; quality content is what attracts readers and ensures that your marketing message will be seen by more people. PLSN has not only delivered consistently high quality, it’s also kept pace with all of the changes that are redefining media; its weekly enewsletter is an essential marketing tool in this digital age.”

— Joe FuciniFucini Productions, Advertis-

ing and Marketing Agency For Chauvet.






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BUY ONE • RECEIVE VISIBILITY ON ALL SITESPROJECTION, LIGHTS & STAGING NEWS

E-MEDIA

86,082 Monthly Visitors – 230,715 monthly page views

SALES CONTACTS

www.plsn.com/

INDUSTRY SEARCH ENGINE

NEWS, PRODUCT INFO & MONTHLY ISSUES

www.epdweb.com

EPDWEB.COM

8,746 Visitors per month**4,913 Unique visitors**

40,643 page views**

www.plsn.com

PLSN.COM

57,786 Visitors monthly average**35,827 Unique visitors average**

107,481 page views**

ENTERTAINMENT TECHNOLOGY ADVERTISING

www.etan.com

Reach 8 different Web sites with one buy!

** Publisher’s Own Data

Price per K # of Impressions$30.00 50k$27.50 51k-150k$25.00 151k-250k$22.50 251k-350k$20.00 351k-500k$17.50 600k +

Greg Gallardo - Publisher Entertainment Division

Tel: 702.454.8550Fax: 702.898.2942

[email protected]

Michael DevineAccount Manager

Tel: 702.478.8112Fax: 702.554.5340

[email protected]

Terry LowePresident

Tel: 702.932.5585Fax: 702.554.5340

[email protected]

Matt HuberAccount Manager

Tel: 702.932.5585Fax: 702.554.5340

[email protected]

Judy WangThe Greater China

Worldwide Focus MediaTel: [email protected]

www.plsnbookshelf.com

INDUSTRY BOOKS

PLSNBOOKSHELF/BENJOBS

13,875 Visitors monthly average**9,786 Unique visitors**

38,530 Page views **

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www.plsn.com/

SALES CONTACTS

CUSTOM EMAIL BLASTS

www.yourcompaniespromo

Great for New Product Roll-Outs

17,000 + e-mails TARGETED, FOCUSED & EFFECTIVE

CUSTOM E-MAIL BLAST: reaches more than 17,000 opt-in subscribers of PLSNThis is the best way to deliver your “personalized message” straight to the desks of the decision-

makers throughout the entire visual presentation industry. You have total control over the informa-tion in the message (text, photos, etc.)…everything is focused on you! This is sent in a HTML format and will link directly to any where on your website that you want.

• This is great for a new product introduction, special programs, clients you have done work for or any other important information you want the market to know about your company.

• Drive traffic to your web site

• You can also use it before a trade show to inform attendees what you will be exhibiting at your booth along with your booth number. You can invite attendees to contact you before the show to arrange a specific time (set an appointment) that works with their schedule to stop by your booth to discuss ways you can help them. When someone calls you before a show you can get detailed information on what they do and what their needs are so you are well prepared when they come to your booth for the arranged appointment…and that much closer to making a sale!

Examples of Custom E-Blasts that other clients have done are available upon request

CUSTOM DESIGNEDEMAIL BLASTS

CUSTOM E-MAIL BLASTS

Greg Gallardo - Publisher Entertainment Division

Tel: 702.454.8550Fax: 702.898.2942

[email protected]

Michael DevineAccount Manager

Tel: 702.478.8112Fax: 702.554.5340

[email protected]

Terry LowePresident

Tel: 702.932.5585Fax: 702.554.5340

[email protected]

Matt HuberAccount Manager

Tel: 702.932.5585Fax: 702.554.5340

[email protected]

Judy WangThe Greater China

Worldwide Focus MediaTel: [email protected]

$1,500/per email blast

PLSN

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IN P

RIN

T

TOTAL MARKET • TOTAL REACH PROJECTION, LIGHTS & STAGING NEWS

PLSN MAGAZINE EVENT PRODUCTION DIRECTORYLIGHTING

SOUND

STAGING/RIGGING

RADIO / INTERCOMCOMMUNICATIONS

MANUFACTURERS /DISTRIBUTORS /THEATRICAL RETAILERS

VIDEO PROJECTION

SET DESIGN / CONSTRUCTION

LASERS

FOGGERS / HAZERS

PYROTECHNICS

LABOR COMPANIES

GENERATORS

SOFT GOODSMANUFACTURERS /DISTRIBUTORS

CASES

BACKLINE

FREIGHTFORWARDERS

COACHES

TRUCKING

PIPE / TENTS

COMPANY ADVERTORIAL PROMOS

EVENT PRODUCTION DIRECTORY

40,000 Printed**Advertorial OpportunitiesPoly-bagged in March Issue

2 & 4 PAGE ADVERTORIAL

Professionally Written & Designed1,000 Reprint ChoicesDigital File for Your Website

PLSN MAGAZINE

• 22,481 Qualified Subscribers*• 48,463 Total Readership **• 55.8% Presidents, Owners & Managers**June 2016 Verified Audit Circulation Statement **Publisher’s Own Data

GOLD SPONSORSHIP INCLUDES:

• Five months of visibility in print and online

• Logo on all materials related to the Parnelli Awards in print and online

• Press release in PLSN about your company’s participation

• Online, your company’s logo with a link to your website will be seen on every page of the Parnelli Awards website

• Logo visibility via signage the night of the event

• Thanks from the stage for sponsorship participation

• A FP 4/C ad in the Parnelli Awards program book

• A reserved table for 10

IN P

ERSO

NPhilips Seeks IPO for 25 Percent of its Lighting Business

Danny O'Bryen to Receive Parnelli Visionary Award

Solotech Opens for Business in Nashville

News Spotlight

Vol. 17.04May, 2016

7

7

7

Designer InsightsCHVRCHES Every Open Eye Tour

Designer InsightsEllie Goulding Delirium Tour

32 40 58Video FeatureBET's Black Girls Rock!

WHAT’S HOT

PROJECTION CONNECTION p. 55 62

26

ADJ Vizi Hybrid 16RX

PRODUCTION PROFILE

Cory FitzGerald Lights 20-Truck Purpose World TourCOVER PHOTO BY STEVE JENNINGS

CREATIVE BRANDING ADVERTISMENT

Poly-Bag

Belly Band Deluxe Spreads

Inserts

Advertorials

Gate Folds

• Photography • Art Direction

• Copy Writing • Campaign Concepts

• Invitation Design • Ad Design

• Custom Promotion • Spec Work

• Editorial Design • Web Design

CREATIVE SERVICES

Other levels of sponsorship available, ask your rep. for details

Belly Bands

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